Freddy
Cole looked every bit of his 83 years as he was helped onto the stage last night at
the Jazz Showcase in Chicago's Printer's Row.

Until he sat at the piano. At that point he was transformed. For an hour and a half,
he showed a strength and grace that belied his 8 decades. His command of piano and
vocals was a strong as a man half his age.

He launched from one song to the next, never taking a break to chat with the audience
until the final few minutes.

Although Cole can claim 3 Grammy nominations, he will always be remembered as the
younger brother of legendary singer Nat "King" Cole. But he does not shun
that comparison, as his set included three of Nat's songs (Paper Moon, L-O-V-E,
and A Blossom Fell) and he recently released an album of songs made famous
by his brother. Close your eyes and the richness of Freddy's voice is reminiscent
of his late brother's talents.

Cole stuck mostly to ballads, but pleased the local crowd near the end of his set
with a rendition of Ray Price's swinging "On the South Side of Chicago",
which brought an ovation from his hometown.

His piano and vocals were accompanied by drums, upright bass, and guitar. Of course,
the attention was mostly on Cole, but his talented Adam Moezinia took many solos.
Bassist Elias Bailey stayed in the background until the last few songs when he became
more and more bold with his solos and complex playing.

In
the end, Freddy Cole closed the set with a song called "Goodbye", accepted
a standing ovation, and was helped from the stage, again transformed into a fragile
old man. Until the night's second set.

Freddy Cole delights Jazz Showcase Crowd in a Return to his Home Townhttp://davidgiard.com/PermaLink,guid,ce413c25-84fa-48e9-adce-f7b1cc0fb363.aspxhttp://DavidGiard.com/2018/05/13/FreddyColeDelightsJazzShowcaseCrowdInAReturnToHisHomeTown.aspx
Sun, 13 May 2018 23:03:45 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Freddy-Cole-delights-Jazz-Showcase-Crowd_FB34/IMG_0508_2.jpg"><img title="IMG_0508" style="padding-right: 10px; float: left; background-image: none;" border="0" alt="Freddy Cole at the Jazz Showcase" src="http://davidgiard.com/content/binary/Open-Live-Writer/Freddy-Cole-delights-Jazz-Showcase-Crowd_FB34/IMG_0508_thumb.jpg" width="244" height="184" /></a>Freddy
Cole looked every bit of his 83 years as he was helped onto the stage last night at
the Jazz Showcase in Chicago's Printer's Row.
</p>
<p>
Until he sat at the piano. At that point he was transformed. For an hour and a half,
he showed a strength and grace that belied his 8 decades. His command of piano and
vocals was a strong as a man half his age.
</p>
<p>
He launched from one song to the next, never taking a break to chat with the audience
until the final few minutes.
</p>
<p>
Although Cole can claim 3 Grammy nominations, he will always be remembered as the
younger brother of legendary singer Nat &quot;King&quot; Cole. But he does not shun
that comparison, as his set included three of Nat's songs (<em>Paper Moon</em>, <em>L-O-V-E</em>,
and <em>A Blossom Fell</em>) and he recently released an album of songs made famous
by his brother. Close your eyes and the richness of Freddy's voice is reminiscent
of his late brother's talents.
</p>
<p>
Cole stuck mostly to ballads, but pleased the local crowd near the end of his set
with a rendition of Ray Price's swinging &quot;On the South Side of Chicago&quot;,
which brought an ovation from his hometown.
</p>
<p>
His piano and vocals were accompanied by drums, upright bass, and guitar. Of course,
the attention was mostly on Cole, but his talented Adam Moezinia took many solos.
Bassist Elias Bailey stayed in the background until the last few songs when he became
more and more bold with his solos and complex playing.
</p>
<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Freddy-Cole-delights-Jazz-Showcase-Crowd_FB34/IMG_0510_4.jpg"><img title="IMG_0510" style="padding-left: 10px; float: right; background-image: none;" border="0" alt="Freddy and David" src="http://davidgiard.com/content/binary/Open-Live-Writer/Freddy-Cole-delights-Jazz-Showcase-Crowd_FB34/IMG_0510_thumb_1.jpg" width="184" height="244" /></a>In
the end, Freddy Cole closed the set with a song called &quot;Goodbye&quot;, accepted
a standing ovation, and was helped from the stage, again transformed into a fragile
old man. Until the night's second set.
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=ce413c25-84fa-48e9-adce-f7b1cc0fb363" />http://davidgiard.com/CommentView,guid,ce413c25-84fa-48e9-adce-f7b1cc0fb363.aspxMusichttp://davidgiard.com/Trackback.aspx?guid=cb03c460-e471-44fc-8471-e20c80979ccahttp://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,cb03c460-e471-44fc-8471-e20c80979cca.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,cb03c460-e471-44fc-8471-e20c80979cca.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=cb03c460-e471-44fc-8471-e20c80979cca

The
Average White Band are anything but average.

45 years ago, a group friends in Dundee, Scotland got together to play funky music,
then moved to America to launch a recording career.

Saturday night at the Promontory in Hyde Park, two of those original Scottish band
members - Alan Gorrie and Onnie McIntyre - joined with 5 newer band members to prove
they still have the magic that launched an international career decades ago.

I
attended the second of their two sets, where they played a few ballads mixed in with
their signature funk. Vocalist Brent Carter, formerly of Tower of Power, showed impressive
range for the band and tenor saxophonist Fred Vigdor led the 2-person horn section.
They were helped along by alto saxophonist Cliff Lyons, drummer Rocky Bryant, and
keyboardist Rob Aries. But it was Gorrie who led the way with excellent bass playing,
backing vocals, and a charming persona for the audience.

They played many of their hits, such as "Cut the Cake", "Work to Do",
and "Oh Maceo". The room was full and the level of energy rose as as the
show went on. The band returned to the stage for a single encore - their only US #1
single "Pick Up the Pieces".

By the end of the evening, most of the audience was on their feet, including yours
truly. It was a show I wish could have continued for longer into the night. Despite
their name, Average White Band was exceptional. I find myself playing AWB and other
funk bands as I write this on Sunday evening.

Average White Band Gets Hyde Park Audience Dancinghttp://davidgiard.com/PermaLink,guid,cb03c460-e471-44fc-8471-e20c80979cca.aspxhttp://DavidGiard.com/2018/04/16/AverageWhiteBandGetsHydeParkAudienceDancing.aspx
Mon, 16 Apr 2018 00:41:00 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Average-White-Band_14CAD/AWB_2.png"><img title="AWB" style="padding-right: 10px; float: left; background-image: none;" border="0" alt="AWB" src="http://davidgiard.com/content/binary/Open-Live-Writer/Average-White-Band_14CAD/AWB_thumb.png" width="244" height="196" /></a>The
Average White Band are anything but average.
</p>
<p>
45 years ago, a group friends in Dundee, Scotland got together to play funky music,
then moved to America to launch a recording career.
</p>
<p>
Saturday night at the Promontory in Hyde Park, two of those original Scottish band
members - Alan Gorrie and Onnie McIntyre - joined with 5 newer band members to prove
they still have the magic that launched an international career decades ago.
</p>
<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Average-White-Band_14CAD/AWB-83_2.png"><img title="AWB-83" style="padding-left: 10px; float: right; background-image: none;" border="0" alt="AWB-83" src="http://davidgiard.com/content/binary/Open-Live-Writer/Average-White-Band_14CAD/AWB-83_thumb.png" width="244" height="180" /></a> I
attended the second of their two sets, where they played a few ballads mixed in with
their signature funk. Vocalist Brent Carter, formerly of Tower of Power, showed impressive
range for the band and tenor saxophonist Fred Vigdor led the 2-person horn section.
They were helped along by alto saxophonist Cliff Lyons, drummer Rocky Bryant, and
keyboardist Rob Aries. But it was Gorrie who led the way with excellent bass playing,
backing vocals, and a charming persona for the audience.
</p>
<p>
They played many of their hits, such as &quot;Cut the Cake&quot;, &quot;Work to Do&quot;,
and &quot;Oh Maceo&quot;. The room was full and the level of energy rose as as the
show went on. The band returned to the stage for a single encore - their only US #1
single &quot;Pick Up the Pieces&quot;.
</p>
<p>
By the end of the evening, most of the audience was on their feet, including yours
truly. It was a show I wish could have continued for longer into the night. Despite
their name, Average White Band was exceptional. I find myself playing AWB and other
funk bands as I write this on Sunday evening.
</p>
<hr />
<p>
<a href="https://giard.smugmug.com/Concerts/Average-White-Band-2018/" target="_blank">More
photos</a>
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=cb03c460-e471-44fc-8471-e20c80979cca" />http://davidgiard.com/CommentView,guid,cb03c460-e471-44fc-8471-e20c80979cca.aspxMusichttp://davidgiard.com/Trackback.aspx?guid=fa396f8d-525e-486d-b6bd-ab7493edac90http://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,fa396f8d-525e-486d-b6bd-ab7493edac90.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,fa396f8d-525e-486d-b6bd-ab7493edac90.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=fa396f8d-525e-486d-b6bd-ab7493edac90

Although
he was born and raised in Port Arthur, TX and raised on his father's Louisiana music,
CJ Chenier has strong connections to Chicago. He recorded 3 albums for Chicago-based
Alligator Records and he is a frequent performer at Fitzgerald's Night Club in the
Chicago suburb of Berwyn.

It was in Berwyn that I saw CJ last night. The tickets were a birthday gift and one
of the best I've received in a long time. Chenier played for hours, bringing the high
energy I had come to know from his recordings, but had never seen in concert.

He was accompanied by drums, bass, an excellent guitarist, and someone playing the
vest frottoir - a tin washboard that hangs from the chest, that was invented by CJ's
legendary father Clifton and his uncle Cleveland.

The frottoir added some texture to the music; but it added more to the visuals of
the concert, given its wearer's high energy dancing and playing.

CJ, of course, sang and played his signature accordion. His music kept the packed
club bouncing all night. The high point came when he and 3 members of his band unplugged
and wound their way through the crowd for an extended jam.

CJ photobombs DG's selfie!

He continues the Zydeco tradition of his father's band (Clifton passed away in 1987),
but CJ adds a funky sound all his own. The result kept the audience energized throughout
the show.

If you are reading this and wondering what to get me on my birthday next year, check
the local concert calendar around March 1. Be warned: It will have to be pretty darn
good to top this one.

CJ Chenier Brings His Zydeco Funk to Fitzgerald’shttp://davidgiard.com/PermaLink,guid,fa396f8d-525e-486d-b6bd-ab7493edac90.aspxhttp://DavidGiard.com/2018/03/11/CJChenierBringsHisZydecoFunkToFitzgeralds.aspx
Sun, 11 Mar 2018 21:35:31 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/CJ-Chenier_E764/20180310_211841_2.jpg"><img title="20180310_211841" style="padding-right: 10px; float: left; background-image: none;" border="0" alt="20180310_211841" src="http://davidgiard.com/content/binary/Open-Live-Writer/CJ-Chenier_E764/20180310_211841_thumb.jpg" width="244" height="139" /></a>Although
he was born and raised in Port Arthur, TX and raised on his father's Louisiana music,
CJ Chenier has strong connections to Chicago. He recorded 3 albums for Chicago-based
Alligator Records and he is a frequent performer at Fitzgerald's Night Club in the
Chicago suburb of Berwyn.
</p>
<p>
It was in Berwyn that I saw CJ last night. The tickets were a birthday gift and one
of the best I've received in a long time. Chenier played for hours, bringing the high
energy I had come to know from his recordings, but had never seen in concert.
</p>
<p>
He was accompanied by drums, bass, an excellent guitarist, and someone playing the
vest frottoir - a tin washboard that hangs from the chest, that was invented by CJ's
legendary father Clifton and his uncle Cleveland.
</p>
<p>
The frottoir added some texture to the music; but it added more to the visuals of
the concert, given its wearer's high energy dancing and playing.
</p>
<p>
CJ, of course, sang and played his signature accordion. His music kept the packed
club bouncing all night. The high point came when he and 3 members of his band unplugged
and wound their way through the crowd for an extended jam.
</p>
<figure>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/CJ-Chenier_E764/20180310_220731_2.jpg"><img title="20180310_220731" style="margin: 0px; display: inline; background-image: none;" border="0" alt="20180310_220731" src="http://davidgiard.com/content/binary/Open-Live-Writer/CJ-Chenier_E764/20180310_220731_thumb.jpg" width="244" height="139" /></a><a href="http://davidgiard.com/content/binary/Open-Live-Writer/CJ-Chenier_E764/20180310_220734_2.jpg"><img title="20180310_220734" style="margin: 0px; display: inline; background-image: none;" border="0" alt="20180310_220734" src="http://davidgiard.com/content/binary/Open-Live-Writer/CJ-Chenier_E764/20180310_220734_thumb.jpg" width="244" height="139" /></a>
<figcaption>
<font size="1"> CJ photobombs DG's selfie!</font>
</figcaption>
</figure>
<p>
He continues the Zydeco tradition of his father's band (Clifton passed away in 1987),
but CJ adds a funky sound all his own. The result kept the audience energized throughout
the show.
</p>
<p>
If you are reading this and wondering what to get me on my birthday next year, check
the local concert calendar around March 1. Be warned: It will have to be pretty darn
good to top this one.
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=fa396f8d-525e-486d-b6bd-ab7493edac90" />http://davidgiard.com/CommentView,guid,fa396f8d-525e-486d-b6bd-ab7493edac90.aspxMusichttp://davidgiard.com/Trackback.aspx?guid=a3cafc29-5eac-46d7-9414-c2929b7849b4http://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,a3cafc29-5eac-46d7-9414-c2929b7849b4.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,a3cafc29-5eac-46d7-9414-c2929b7849b4.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=a3cafc29-5eac-46d7-9414-c2929b7849b4

Steve Earle has been writing and recording songs for over 4 decades. On Monday night,
he brought those songs to the City Winery in Chicago's Fulton River district.

This was my second night in a row at the City Winery as I saw JD Souther the night
before. Earle and Souther share a Texas upbringing and a talent for writing great
music.

Steve Earle is as much a storyteller as he is a songwriter. Listening to his music
you can hear the influences of his old friends Guy Clark and Townes Van Zandt. Between
songs, Earle would talk about his life and his music and his romantic streak and his
many failed marriages. He expressed a strong wit - in both his lyrics and his banter.

Every song was a joy to listen to as he moved effortlessly from blues to country to
Irish folk songs. It was just him and his guitar or mandolin (and sometimes harmonica)
but that was enough. A packed theater appreciated all he brought.

Now in his 60s, Earle continues to make music and to tour constantly.

And to make audiences happy.

Steve Earle shares his stories at the City Wineryhttp://davidgiard.com/PermaLink,guid,a3cafc29-5eac-46d7-9414-c2929b7849b4.aspxhttp://DavidGiard.com/2018/02/16/SteveEarleSharesHisStoriesAtTheCityWinery.aspx
Fri, 16 Feb 2018 07:07:00 GMT<p>
Steve Earle has been writing and recording songs for over 4 decades. On Monday night,
he brought those songs to the City Winery in Chicago's Fulton River district.
</p>
<p>
This was my second night in a row at the City Winery as I saw JD Souther the night
before. Earle and Souther share a Texas upbringing and a talent for writing great
music.
</p>
<p>
Steve Earle is as much a storyteller as he is a songwriter. Listening to his music
you can hear the influences of his old friends Guy Clark and Townes Van Zandt. Between
songs, Earle would talk about his life and his music and his romantic streak and his
many failed marriages. He expressed a strong wit - in both his lyrics and his banter.
</p>
<p>
Every song was a joy to listen to as he moved effortlessly from blues to country to
Irish folk songs. It was just him and his guitar or mandolin (and sometimes harmonica)
but that was enough. A packed theater appreciated all he brought.
</p>
<p>
Now in his 60s, Earle continues to make music and to tour constantly.
</p>
<p>
And to make audiences happy.
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=a3cafc29-5eac-46d7-9414-c2929b7849b4" />http://davidgiard.com/CommentView,guid,a3cafc29-5eac-46d7-9414-c2929b7849b4.aspxMusichttp://davidgiard.com/Trackback.aspx?guid=31fbe322-cab0-4681-bdec-f82325d8e5c4http://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,31fbe322-cab0-4681-bdec-f82325d8e5c4.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,31fbe322-cab0-4681-bdec-f82325d8e5c4.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=31fbe322-cab0-4681-bdec-f82325d8e5c4

JD Souther wrote the soundtrack to my youth. His songs were recorded by many of my
favourite artists, including Bonnie Raitt, the Eagles, and Linda Ronstadt.

Sunday night at the City Winery I had a chance to return to those days when legendary
songwriter performed. For over 2 hours, Souther sang songs he wrote and (mostly) others
made famous. His tenor voice still sounds great and was accompanied only by himself
playing acoustic guitar or baby grand piano.

He is mostly known for the songs he wrote and co-wrote for the Eagles and he played
many of these, such as "Sad Café", "New Kid in Town", and "Best
of My Love". He also played his composition "White Rhythm and Blues",
one of my favourite Linda Ronstadt songs and "You're Only Lonely", the only
top-40 hit recorded by Souther.

Souther spent most of the evening playing ballads, but changed it up for the encore,
getting the audience clapping along to the catchy "Heartache Tonight."

The place was not full on a cold and snowy Sunday night. But Souther is a big baseball
fan and announced before his last song that he planned to return to Chicago in the
spring and take in a Cubs game. So you will have another chance to see him. And you
should take it.

Me and JD after the show.

JD Souther plays the songs he wrote for my youthhttp://davidgiard.com/PermaLink,guid,31fbe322-cab0-4681-bdec-f82325d8e5c4.aspxhttp://DavidGiard.com/2018/02/15/JDSoutherPlaysTheSongsHeWroteForMyYouth.aspx
Thu, 15 Feb 2018 04:22:13 GMT<p>
JD Souther wrote the soundtrack to my youth. His songs were recorded by many of my
favourite artists, including Bonnie Raitt, the Eagles, and Linda Ronstadt.
</p>
<p>
Sunday night at the City Winery I had a chance to return to those days when legendary
songwriter performed. For over 2 hours, Souther sang songs he wrote and (mostly) others
made famous. His tenor voice still sounds great and was accompanied only by himself
playing acoustic guitar or baby grand piano.
</p>
<p>
He is mostly known for the songs he wrote and co-wrote for the Eagles and he played
many of these, such as &quot;Sad Café&quot;, &quot;New Kid in Town&quot;, and &quot;Best
of My Love&quot;. He also played his composition &quot;White Rhythm and Blues&quot;,
one of my favourite Linda Ronstadt songs and &quot;You're Only Lonely&quot;, the only
top-40 hit recorded by Souther.
</p>
<p>
Souther spent most of the evening playing ballads, but changed it up for the encore,
getting the audience clapping along to the catchy &quot;Heartache Tonight.&quot;
</p>
<p>
The place was not full on a cold and snowy Sunday night. But Souther is a big baseball
fan and announced before his last song that he planned to return to Chicago in the
spring and take in a Cubs game. So you will have another chance to see him. And you
should take it.
</p>
<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/JD-Souther-plays-the-songs-he-wrote-to-a_13A12/20180211_215254_2.jpg"><img title="20180211_215254" style="display: inline; background-image: none;" border="0" alt="20180211_215254" src="http://davidgiard.com/content/binary/Open-Live-Writer/JD-Souther-plays-the-songs-he-wrote-to-a_13A12/20180211_215254_thumb.jpg" width="244" height="139" /></a>
<br />
<font size="1">Me and JD after the show.</font>
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=31fbe322-cab0-4681-bdec-f82325d8e5c4" />http://davidgiard.com/CommentView,guid,31fbe322-cab0-4681-bdec-f82325d8e5c4.aspxMusichttp://davidgiard.com/Trackback.aspx?guid=8712ae2c-f879-475d-87c9-b9956348957dhttp://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,8712ae2c-f879-475d-87c9-b9956348957d.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,8712ae2c-f879-475d-87c9-b9956348957d.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=8712ae2c-f879-475d-87c9-b9956348957d

Roy
Ayers is 77 years old and stutters when he talks. But not when he sings. And definitely
not when he plays the vibraphone. And play he did last night in front of a packed
house at The Promontory in
Hyde Park.

Ayers mixed a few ballads with the jazz-funk that he helped define. Backed by a band
consisting of bass, drums, keyboard, and another vocalist, Ayers played for about
90 minutes, drawing on his 99 albums with such songs as "Red, Black & Green",
"Don't Stop the Feeling", and his interpretation of Sam Cooke's "You
Send Me".

The keyboardist was the best of the bunch, coaxing a variety of sounds from his instrument
during his many solos. I wondered why the stage setup hid so much of him from the
audience's view.

And then there was Roy and his vibraphone. Ayers still sounds great when he does his
thing with his vibes.

I
bought a ticket at the door and had to stand in the back with some folks who decided
it was ok to engage in loud conversation at the concert. But I had a chance to shake
the hand of Mr. Ayers after the show and tell him how much I enjoyed his music.

And to wish him luck on his next 99 albums.

Legendary Roy Ayers Funks Up Hyde Parkhttp://davidgiard.com/PermaLink,guid,8712ae2c-f879-475d-87c9-b9956348957d.aspxhttp://DavidGiard.com/2017/12/22/LegendaryRoyAyersFunksUpHydePark.aspx
Fri, 22 Dec 2017 10:33:00 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Legendary-Roy-Ayers-Funks-Up-The-Promont_14A75/20171221_213739_2.jpg"><img title="20171221_213739" style="padding-left: 10px; float: right; background-image: none;" border="0" alt="Me and Roy" src="http://davidgiard.com/content/binary/Open-Live-Writer/Legendary-Roy-Ayers-Funks-Up-The-Promont_14A75/20171221_213739_thumb.jpg" width="244" height="139" /></a> Roy
Ayers is 77 years old and stutters when he talks. But not when he sings. And definitely
not when he plays the vibraphone. And play he did last night in front of a packed
house at <a href="http://promontorychicago.com/" target="_blank">The Promontory</a> in
Hyde Park.
</p>
<p>
Ayers mixed a few ballads with the jazz-funk that he helped define. Backed by a band
consisting of bass, drums, keyboard, and another vocalist, Ayers played for about
90 minutes, drawing on his 99 albums with such songs as &quot;Red, Black &amp; Green&quot;,
&quot;Don't Stop the Feeling&quot;, and his interpretation of Sam Cooke's &quot;You
Send Me&quot;.
</p>
<p>
The keyboardist was the best of the bunch, coaxing a variety of sounds from his instrument
during his many solos. I wondered why the stage setup hid so much of him from the
audience's view.
</p>
<p>
And then there was Roy and his vibraphone. Ayers still sounds great when he does his
thing with his vibes.
</p>
<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Legendary-Roy-Ayers-Funks-Up-The-Promont_14A75/20171221_213716_2.jpg"><img title="20171221_213716" style="padding-right: 10px; float: left; background-image: none;" border="0" alt="Also Me and Roy" src="http://davidgiard.com/content/binary/Open-Live-Writer/Legendary-Roy-Ayers-Funks-Up-The-Promont_14A75/20171221_213716_thumb.jpg" width="244" height="139" /></a>I
bought a ticket at the door and had to stand in the back with some folks who decided
it was ok to engage in loud conversation at the concert. But I had a chance to shake
the hand of Mr. Ayers after the show and tell him how much I enjoyed his music.
</p>
<p>
And to wish him luck on his next 99 albums.
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=8712ae2c-f879-475d-87c9-b9956348957d" />http://davidgiard.com/CommentView,guid,8712ae2c-f879-475d-87c9-b9956348957d.aspxMusicPersonalhttp://davidgiard.com/Trackback.aspx?guid=14210c15-35fc-4897-abf1-df75dd21cd22http://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,14210c15-35fc-4897-abf1-df75dd21cd22.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,14210c15-35fc-4897-abf1-df75dd21cd22.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=14210c15-35fc-4897-abf1-df75dd21cd22

This
week, I went to The Church on Friday night.

In this context, The Church is the Australian rock band and they were performing at
Park West in Lincoln Park, Chicago.

It turns out that The Church has had a long career beyond their 1988 "Starfish"
album - the CD my brother gave me decades ago that I played repeatedly in the 80s
and 90s. "Starfish" was their most popular album, but they were almost a
dozen songs into their set before playing the first song from this album - "North
South East & West".

They
filled the night with music from the early 1980s (lead singer Steve Kilbey joked that
he was 2 years old when he wrote one of the songs) and from their latest album ("Man
Woman Life Death Infinity", which was released today). In almost 4 decades, the
band has released dozens of albums and they drew on many of them tonight They alternated
between straight-ahead post-punk rockers and the ethereal music for which they are
most well-known.

For
me, the high point was hearing "Under the Milky Way". It was like a visit
from an old friend and the emotion of the harmonies and acoustic guitar still speak
to me after all these years.

My first visit to Park West was an enjoyable one. It was a good night to visit The
Church. ie

Friday Night with The Church at Park Westhttp://davidgiard.com/PermaLink,guid,14210c15-35fc-4897-abf1-df75dd21cd22.aspxhttp://DavidGiard.com/2017/10/07/FridayNightWithTheChurchAtParkWest.aspx
Sat, 07 Oct 2017 05:56:20 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/0793011aef82_78B/TheChurch02_2.jpg"><img title="TheChurch02" style="padding-left: 10px; float: right; background-image: none;" border="0" alt="TheChurch02" src="http://davidgiard.com/content/binary/Open-Live-Writer/0793011aef82_78B/TheChurch02_thumb.jpg" width="239" height="244" /></a>This
week, I went to The Church on Friday night.
</p>
<p>
In this context, The Church is the Australian rock band and they were performing at
Park West in Lincoln Park, Chicago.
</p>
<p>
It turns out that The Church has had a long career beyond their 1988 &quot;Starfish&quot;
album - the CD my brother gave me decades ago that I played repeatedly in the 80s
and 90s. &quot;Starfish&quot; was their most popular album, but they were almost a
dozen songs into their set before playing the first song from this album - &quot;North
South East &amp; West&quot;.
</p>
<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/0793011aef82_78B/TheChurch01_2.jpg"><img title="TheChurch01" style="padding-right: 10px; float: left; background-image: none;" border="0" alt="TheChurch01" src="http://davidgiard.com/content/binary/Open-Live-Writer/0793011aef82_78B/TheChurch01_thumb.jpg" width="244" height="171" /></a>They
filled the night with music from the early 1980s (lead singer Steve Kilbey joked that
he was 2 years old when he wrote one of the songs) and from their latest album (&quot;Man
Woman Life Death Infinity&quot;, which was released today). In almost 4 decades, the
band has released dozens of albums and they drew on many of them tonight They alternated
between straight-ahead post-punk rockers and the ethereal music for which they are
most well-known.
</p>
<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/0793011aef82_78B/TheChurch03_4.jpg"><img title="TheChurch03" style="padding-left: 10px; float: right; background-image: none;" border="0" alt="TheChurch03" src="http://davidgiard.com/content/binary/Open-Live-Writer/0793011aef82_78B/TheChurch03_thumb_1.jpg" width="244" height="212" /></a>For
me, the high point was hearing &quot;Under the Milky Way&quot;. It was like a visit
from an old friend and the emotion of the harmonies and acoustic guitar still speak
to me after all these years.
</p>
<p>
My first visit to Park West was an enjoyable one. It was a good night to visit The
Church. ie
<br />
</p>
<hr>
<iframe width="560" height="315" src="https://www.youtube.com/embed/mA54NBtPKdI" frameborder="0" allowfullscreen>
</iframe>
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Last
week, I took my son to his first jazz club. We saw Benny Golson at the Jazz Showcase
in the South Loop. He liked it.

Golson has been performing tenor saxophone publicly for decades and has accumulated
a number of stories of his interactions with many of the all-time greats - from Dizzy
Gillespie to Eric Burdon. He spent much of this evening telling of his days with other
musicians, preceding each song with the tale of how that song came to be. For example,
he spoke of writing "I remember Clifford" after learning of the death of
his friend Clifford Brown; and he talked about playing "Whisper Not" for
Dizzy Gillespie and trying to remain cool after Gillespie asked if he could record
the song.

At 85, Golson is showing his age. He no longer has the stamina to maintain the long
slow notes that many of his melodies demand. But on this night in Chicago's
South Loop, he surrounded himself with some excellent musicians (piano, upright bass,
and drums), who made up for that with their solos.

And Golson is best known for his songwriting prowess and nearly every song he performed
was his own composition. And his melodies are still lovely.

And my son enjoyed his first jazz concert.

Stories and Melodies highlight Benny Golson show at Jazz Showcasehttp://davidgiard.com/PermaLink,guid,28df6997-3abd-4cdf-848a-1ce65729dd82.aspxhttp://DavidGiard.com/2017/08/20/StoriesAndMelodiesHighlightBennyGolsonShowAtJazzShowcase.aspx
Sun, 20 Aug 2017 23:04:29 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Stories-and-Melodies-highlight-Benny-Gol_D91B/BennyGolson_2.jpg"><img title="BennyGolson" style="float:left; background-image: none; padding-right:10px; padding-bottom:5px" border="0" alt="BennyGolson" src="http://davidgiard.com/content/binary/Open-Live-Writer/Stories-and-Melodies-highlight-Benny-Gol_D91B/BennyGolson_thumb.jpg" width="244" height="137" /></a> Last
week, I took my son to his first jazz club. We saw Benny Golson at the Jazz Showcase
in the South Loop. He liked it.
</p>
<p>
Golson has been performing tenor saxophone publicly for decades and has accumulated
a number of stories of his interactions with many of the all-time greats - from Dizzy
Gillespie to Eric Burdon. He spent much of this evening telling of his days with other
musicians, preceding each song with the tale of how that song came to be. For example,
he spoke of writing &quot;I remember Clifford&quot; after learning of the death of
his friend Clifford Brown; and he talked about playing &quot;Whisper Not&quot; for
Dizzy Gillespie and trying to remain cool after Gillespie asked if he could record
the song.
</p>
<p>
At 85, Golson is showing his age. He no longer has the stamina to maintain the long
slow notes that many of his melodies demand.&#160; But on this night in Chicago's
South Loop, he surrounded himself with some excellent musicians (piano, upright bass,
and drums), who made up for that with their solos.
</p>
<p>
And Golson is best known for his songwriting prowess and nearly every song he performed
was his own composition. And his melodies are still lovely.
</p>
<p>
And my son enjoyed his first jazz concert.
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=28df6997-3abd-4cdf-848a-1ce65729dd82" />http://davidgiard.com/CommentView,guid,28df6997-3abd-4cdf-848a-1ce65729dd82.aspxMusichttp://davidgiard.com/Trackback.aspx?guid=a8a1b1db-b1dc-4e2f-a9cc-c6020d4d693bhttp://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,a8a1b1db-b1dc-4e2f-a9cc-c6020d4d693b.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,a8a1b1db-b1dc-4e2f-a9cc-c6020d4d693b.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=a8a1b1db-b1dc-4e2f-a9cc-c6020d4d693b

30
years ago, I received as a gift the album "Nelson Mandela" by Youssou N'Dour.
I was hooked. N'Dour exposed to me an engaging style that combined traditional rhythms
of his native Senegal with western instruments.

Thursday night at Millennium Park, I finally had the chance to see N'Dour in concert.
He did not disappoint.

Throughout the show, everyone smiled and danced to the music. The audience enjoyed
themselves, Youssou enjoyed himself, and the band enjoyed themselves. Except for the
rhythm guitar player, who remained stoically stone-faced throughout the performance,
despite being surrounded by smiling musicians and fans.

N'Dour
shared the stage with about a dozen other musicians, including two keyboardists, 3
guitarists, 4(!) drummers, and 1 dancer.

They played danceable Afro-pop for over 90 minutes and came back for an encore to
the delight of the crowd.

The show was a treat for those of us who love African music. Next to the stage, I
saw people dressed in African garb dancing to the music. A few rows back, I saw middle-aged
white Americans tapping their feet. Even though none of the songs were sung in English,
Youssou and his band made a connection with an audience far from his homeland.

Youssou N’Dour brings Afro-Pop from Senegal to Chicagohttp://davidgiard.com/PermaLink,guid,a8a1b1db-b1dc-4e2f-a9cc-c6020d4d693b.aspxhttp://DavidGiard.com/2017/08/16/YoussouNDourBringsAfroPopFromSenegalToChicago.aspx
Wed, 16 Aug 2017 06:07:21 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Youssou-NDour-brings-Afro-Pop-from-Seneg_DEF/YoussouNDour01_5.jpg"><img title="YoussouNDour01" style="padding-right: 10px; padding-bottom: 10px; float: left; background-image: none;" border="0" alt="YoussouNDour01" src="http://davidgiard.com/content/binary/Open-Live-Writer/Youssou-NDour-brings-Afro-Pop-from-Seneg_DEF/YoussouNDour01_thumb_1.jpg" width="244" height="195" /></a>30
years ago, I received as a gift the album &quot;Nelson Mandela&quot; by Youssou N'Dour.
I was hooked. N'Dour exposed to me an engaging style that combined traditional rhythms
of his native Senegal with western instruments.
</p>
<p>
Thursday night at Millennium Park, I finally had the chance to see N'Dour in concert.
He did not disappoint.
</p>
<p>
Throughout the show, everyone smiled and danced to the music. The audience enjoyed
themselves, Youssou enjoyed himself, and the band enjoyed themselves. Except for the
rhythm guitar player, who remained stoically stone-faced throughout the performance,
despite being surrounded by smiling musicians and fans.
</p>
<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Youssou-NDour-brings-Afro-Pop-from-Seneg_DEF/YoussouNDour02_2.jpg"><img title="YoussouNDour02" style="float: right; background-image: none; padding-: 10px;" border="0" alt="YoussouNDour02" src="http://davidgiard.com/content/binary/Open-Live-Writer/Youssou-NDour-brings-Afro-Pop-from-Seneg_DEF/YoussouNDour02_thumb.jpg" width="200" height="244" /></a>N'Dour
shared the stage with about a dozen other musicians, including two keyboardists, 3
guitarists, 4(!) drummers, and 1 dancer.
</p>
<p>
They played danceable Afro-pop for over 90 minutes and came back for an encore to
the delight of the crowd.
</p>
<p>
The show was a treat for those of us who love African music. Next to the stage, I
saw people dressed in African garb dancing to the music. A few rows back, I saw middle-aged
white Americans tapping their feet. Even though none of the songs were sung in English,
Youssou and his band made a connection with an audience far from his homeland.
</p>
<p>
By the end of the show, even the rhythm guitarist had to smile.
</p>
<hr>
<p>
<a href="https://giard.smugmug.com/Concerts/Youssou-NDour-2017/" target="_blank">More
photos</a>
</p>
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I
was in college when I discovered Jean Luc Ponty. My friend Tom had a copy of Enigmatic
Ocean and he played it for me and I loved Ponty's style of jazz-rock fusion.

Shortly thereafter, I headed to the local used record store to add Enigmatic Ocean,
Cosmic Messenger, and Imaginary Voyage to my vinyl collection.

I spent many hours replaying these albums and others over the years; but I never had
the chance to see Jean Luc in concert.

Until last night.

Jean Luc Ponty and his band played 2 sold out shows at Chicago's City Winery Monday
and Tuesday night. I was lucky enough to get a ticket to the Monday night show.

Ponty is focusing this tour on "The Atlantic Years" - performing the songs
he recorded in the 1970s and 1980s - exactly the time that I discovered him.

Ponty, now 74 years old, brings the energy of a much younger man to his performance.
He played 2 sets and 1 encore over more than 2 hours, drawing music from the 1970s
and 80s.

As
one would expect from a craftsman like Ponty, he surrounded himself with top-notch
musicians for this tour: Jamie Glaser on guitar; Wally Minko on keyboards; Baron Browne
on bass; and Rayford Griffin on drums. The group was talented and tight and matched
Ponty's energy.

Jean Luc did not speak much between songs, which allowed him to focus on the music;
but it was good to hear he retained his accent from his youth in France.

He closed his second set with an amazing version of Enigmatic Ocean, which began slowly
and ethereally before building to a rocking frenzy.

Local violinist Edgar Gabriel joined
the band on stage for an encore to match Ponty's and the band's intensity for one
extended song.

Jean Luc Ponty changed the way we view the violin in jazz music and he continues to
turn heads today. I was happy to finally catch his energy in concert.

Jean Luc Ponty turns back the clock Monday evening in Chicagohttp://davidgiard.com/PermaLink,guid,537c06e8-d9ea-416e-8537-f5f4fa2a8f3c.aspxhttp://DavidGiard.com/2017/06/20/JeanLucPontyTurnsBackTheClockMondayEveningInChicago.aspx
Tue, 20 Jun 2017 22:27:04 GMT<p>
<img style="float:left; padding-right: 10px;" src="https://photos.smugmug.com/Concerts/Jean-Luc-Ponty-2017/i-mKFZkTX/0/4c558642/S/IMG_6850-S.jpg" />I
was in college when I discovered Jean Luc Ponty. My friend Tom had a copy of Enigmatic
Ocean and he played it for me and I loved Ponty's style of jazz-rock fusion.
</p>
<p>
Shortly thereafter, I headed to the local used record store to add Enigmatic Ocean,
Cosmic Messenger, and Imaginary Voyage to my vinyl collection.
</p>
<p>
I spent many hours replaying these albums and others over the years; but I never had
the chance to see Jean Luc in concert.
</p>
<p>
Until last night.
</p>
<p>
Jean Luc Ponty and his band played 2 sold out shows at Chicago's City Winery Monday
and Tuesday night. I was lucky enough to get a ticket to the Monday night show.
</p>
<p>
Ponty is focusing this tour on &quot;The Atlantic Years&quot; - performing the songs
he recorded in the 1970s and 1980s - exactly the time that I discovered him.
</p>
<p>
Ponty, now 74 years old, brings the energy of a much younger man to his performance.
He played 2 sets and 1 encore over more than 2 hours, drawing music from the 1970s
and 80s.
</p>
<p>
<img style="float:right; padding-left: 10px;" src="https://photos.smugmug.com/Concerts/Jean-Luc-Ponty-2017/i-72T9JG8/0/b094e5fa/S/IMG_6933-S.jpg" />As
one would expect from a craftsman like Ponty, he surrounded himself with top-notch
musicians for this tour: Jamie Glaser on guitar; Wally Minko on keyboards; Baron Browne
on bass; and Rayford Griffin on drums. The group was talented and tight and matched
Ponty's energy.
</p>
<p>
Jean Luc did not speak much between songs, which allowed him to focus on the music;
but it was good to hear he retained his accent from his youth in France.
</p>
<p>
He closed his second set with an amazing version of Enigmatic Ocean, which began slowly
and ethereally before building to a rocking frenzy.
</p>
<p>
Local violinist <a href="http://www.edgargabriel.com/" target="_blank">Edgar Gabriel</a> joined
the band on stage for an encore to match Ponty's and the band's intensity for one
extended song.
<br />
</p>
<p>
Jean Luc Ponty changed the way we view the violin in jazz music and he continues to
turn heads today. I was happy to finally catch his energy in concert.
</p>
<p>
Links:
</p>
<p>
<a href="http://ponty.com/" target="_blank">Jean Luc Ponty homepage</a>
</p>
<p>
<a href="https://giard.smugmug.com/Concerts/Jean-Luc-Ponty-2017/" target="_blank">My
photos</a>
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=537c06e8-d9ea-416e-8537-f5f4fa2a8f3c" />http://davidgiard.com/CommentView,guid,537c06e8-d9ea-416e-8537-f5f4fa2a8f3c.aspxMusicPersonalhttp://davidgiard.com/Trackback.aspx?guid=6bd00df1-004f-4138-aa02-8fb5177c7f5dhttp://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,6bd00df1-004f-4138-aa02-8fb5177c7f5d.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,6bd00df1-004f-4138-aa02-8fb5177c7f5d.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=6bd00df1-004f-4138-aa02-8fb5177c7f5d

I
was 16 years old when I got my first real job. The day I received my first real paycheck,
I drove from work to the bank to local record store and bought Al Stewart's Year
of the Cat LP. I took it home and played it repeatedly, memorizing every word
of every song on both sides.

Nearly 4 decades later, I finally had a chance to see Al Stewart live - Thursday evening
at the City Winery. And here's the kicker: He played the entire Year of the Cat album!
Every song, in the same order as on the album. It was like getting a visit from an
old friend. The concert transported me back to my teen years, listening to my LP on
my parent's Wi-Fi at top volume in the family basement.

In between each song, Stewart explained something about the song's meaning or told
a story of its origin. He was surprised that a song about the Rhodesian civil war
(On the Border) would become a top 40 hit; All airplane metaphors in Flying
Sorcery are about the ending of a relationship; Broadway Hotel often
inspires each audience member to attempt to seduce the attractive stranger next to
him or her.

Stewart was backed by the local Chicago band Empty Pockets, which also opened the
show with a short set of their own. They were joined by Marc Macisso on flute, harmonica
and saxophone - most notably saxophone which he wielded with power and passion.

The
band played a few songs before and after the complete Year of the Cat set,
including his other hit Time Passages. But it was the re-playing of the album
that we all came to hear. And that we all enjoyed.

It’s the Year of the Cat again, thanks to Al Stewarthttp://davidgiard.com/PermaLink,guid,6bd00df1-004f-4138-aa02-8fb5177c7f5d.aspxhttp://DavidGiard.com/2017/03/26/ItsTheYearOfTheCatAgainThanksToAlStewart.aspx
Sun, 26 Mar 2017 16:14:35 GMT<p align="left">
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Its-the-Year-of-the-Cat-again-thanks-to-_9A15/AlStewart2017_2.jpg"><img title="AlStewart2017" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; float: right; padding-top: 0px; padding-left: 10px; padding-right: 0px; border-top-width: 0px" border="0" alt="AlStewart2017" src="http://davidgiard.com/content/binary/Open-Live-Writer/Its-the-Year-of-the-Cat-again-thanks-to-_9A15/AlStewart2017_thumb.jpg" width="234" height="244" /></a>I
was 16 years old when I got my first real job. The day I received my first real paycheck,
I drove from work to the bank to local record store and bought Al Stewart's <em>Year
of the Cat </em>LP. I took it home and played it repeatedly, memorizing every word
of every song on both sides.
</p>
<p>
Nearly 4 decades later, I finally had a chance to see Al Stewart live - Thursday evening
at the City Winery. And here's the kicker: He played the entire Year of the Cat album!
Every song, in the same order as on the album. It was like getting a visit from an
old friend. The concert transported me back to my teen years, listening to my LP on
my parent's Wi-Fi at top volume in the family basement.
</p>
<p>
In between each song, Stewart explained something about the song's meaning or told
a story of its origin. He was surprised that a song about the Rhodesian civil war
(<em>On the Border</em>) would become a top 40 hit; All airplane metaphors in <em>Flying
Sorcery</em> are about the ending of a relationship; <em>Broadway Hotel </em>often
inspires each audience member to attempt to seduce the attractive stranger next to
him or her.
</p>
<p>
Stewart was backed by the local Chicago band Empty Pockets, which also opened the
show with a short set of their own. They were joined by Marc Macisso on flute, harmonica
and saxophone - most notably saxophone which he wielded with power and passion.
</p>
<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Its-the-Year-of-the-Cat-again-thanks-to-_9A15/AlStwesartAndMe_2.jpg"><img title="AlStwesart and Me" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; float: left; padding-top: 0px; padding-left: 0px; padding-right: 10px; border-top-width: 0px" border="0" alt="AlStwesart and Me" src="http://davidgiard.com/content/binary/Open-Live-Writer/Its-the-Year-of-the-Cat-again-thanks-to-_9A15/AlStwesartAndMe_thumb.jpg" width="244" height="139" /></a> The
band played a few songs before and after the complete <em>Year of the Cat</em> set,
including his other hit <em>Time Passages</em>. But it was the re-playing of the album
that we all came to hear. And that we all enjoyed.
<br />
</p>
<hr />
<p style="align: righ">
<a href="https://giard.smugmug.com/Concerts/Al-Stewart-2017/" target="_blank">More
photos of this concert</a>
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=6bd00df1-004f-4138-aa02-8fb5177c7f5d" />http://davidgiard.com/CommentView,guid,6bd00df1-004f-4138-aa02-8fb5177c7f5d.aspxMusicPersonalhttp://davidgiard.com/Trackback.aspx?guid=d49c9a62-a864-48fa-a17b-2c90f49a38c5http://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,d49c9a62-a864-48fa-a17b-2c90f49a38c5.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,d49c9a62-a864-48fa-a17b-2c90f49a38c5.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=d49c9a62-a864-48fa-a17b-2c90f49a38c5

I
took a chance. The show had been sold out for over a month. But I drove to the City
Winery in the West Loop anyway. And I was rewarded with a ticket close to the stage.
And I was not disappointed.

Kristofferson played for 2 hours with a very brief (maybe 10 minutes?) intermission.
He played

He didn't bring a band. Just himself and his guitar and harmonica. It was enough.

At 80 years old, Kris Kristofferson still carries an impressive stage presence. There
were a few missed notes on his guitar, and a few missed high or low notes in his vocal
range, but his wit and charm more than made up for any shortcomings brought on by
his age.

For Kristofferson, it has never been about his singing or his playing. It was always
about his music and his storytelling. And he captivated a packed house Wednesday night
on stage. He sang love songs and drinking songs and ballads and each one struck the
audience as if the story were written and sang only for each of us.

My only complaint is that he apologized too much for any lapses in his musical technique.
The audience didn't care. They wanted to hear him sing his stories.

Kris Kristofferson brings his stories to Chicagohttp://davidgiard.com/PermaLink,guid,d49c9a62-a864-48fa-a17b-2c90f49a38c5.aspxhttp://DavidGiard.com/2017/03/25/KrisKristoffersonBringsHisStoriesToChicago.aspx
Sat, 25 Mar 2017 16:52:30 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Kris-Kristofferson-brings-his-stories-to_A549/KrisKristofferson_2.jpg"><img title="KrisKristofferson" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; float: right; padding-top: 0px; padding-left: 10px; padding-right: 0px; border-top-width: 0px" border="0" alt="KrisKristofferson" src="http://davidgiard.com/content/binary/Open-Live-Writer/Kris-Kristofferson-brings-his-stories-to_A549/KrisKristofferson_thumb.jpg" width="229" height="244" /></a>I
took a chance. The show had been sold out for over a month. But I drove to the City
Winery in the West Loop anyway. And I was rewarded with a ticket close to the stage.
And I was not disappointed.
</p>
<p>
Kristofferson played for 2 hours with a very brief (maybe 10 minutes?) intermission.
He played
</p>
<p>
He didn't bring a band. Just himself and his guitar and harmonica. It was enough.
</p>
<p>
At 80 years old, Kris Kristofferson still carries an impressive stage presence. There
were a few missed notes on his guitar, and a few missed high or low notes in his vocal
range, but his wit and charm more than made up for any shortcomings brought on by
his age.
</p>
<p>
For Kristofferson, it has never been about his singing or his playing. It was always
about his music and his storytelling. And he captivated a packed house Wednesday night
on stage. He sang love songs and drinking songs and ballads and each one struck the
audience as if the story were written and sang only for each of us.
</p>
<p>
My only complaint is that he apologized too much for any lapses in his musical technique.
The audience didn't care. They wanted to hear him sing his stories.
</p>
<p>
And he did.
</p>
<p>
And I'm glad I was there to see and hear it.
<br />
</p>
<hr>
<p>
<a href="https://giard.smugmug.com/Concerts/Kris-Kristofferson-2017/" target="_blank">Photos
of the concert</a>
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=d49c9a62-a864-48fa-a17b-2c90f49a38c5" />http://davidgiard.com/CommentView,guid,d49c9a62-a864-48fa-a17b-2c90f49a38c5.aspxMusicPersonalhttp://davidgiard.com/Trackback.aspx?guid=4bd2e93c-1355-405e-9572-776d84c6b05chttp://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,4bd2e93c-1355-405e-9572-776d84c6b05c.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,4bd2e93c-1355-405e-9572-776d84c6b05c.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=4bd2e93c-1355-405e-9572-776d84c6b05c

Delbert
McClinton has recorded dozens of albums over the past 45 years, but it was always
his live shows that brought him the most praise.

Friday night, McClinton brought that live performance to S.P.A.C.E. in Evanston. For
over 2 hours, he entertained a packed room with a mix of originals and cover songs.

McClinton has a devoted audience and all night long this crowd shouted requests and
sang along to lyrics they had memorized.

Now, in his 70s, McClinton still has the powerful, gritty voice that made him the
ultimate Texas roadhouse singer. What he has lost in range he makes up for with emotion.

For this show, Delbert's only instruments were his voice and his harmonicas. But he
was backed by an outstanding 7-piece band, highlighted by Bob Britt on guitar, Kevin
McKendree on keyboards, Dana Robbins on saxophone, and Quentin Ware on trumpet. This
was a group of top-notch musicians who complemented one another very well. Instead
of an intermission, Delbert stepped off the stage for 10-15 minutes in the middle
of the show and allowed his band to play a trio of songs without him.

Delbert McClinton is often cited as the definitive Texas roadhouse musician. And Friday,
he showed us why. Powerful vocals, a tight band, and a connection with the audience
in an intimate venue made me glad I finally saw him live after listening to his recordings
for years.

Delbert McClinton brings his Texas Roadhouse energy to Evanstonhttp://davidgiard.com/PermaLink,guid,4bd2e93c-1355-405e-9572-776d84c6b05c.aspxhttp://DavidGiard.com/2017/03/12/DelbertMcClintonBringsHisTexasRoadhouseEnergyToEvanston.aspx
Sun, 12 Mar 2017 19:55:56 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/ef5951c48c0b_A3C5/DelbertMcClinton_2.jpg"><img title="DelbertMcClinton" style="border-top: 0px; border-right: 0px; background-image: none; border-bottom: 0px; padding-top: 0px; padding-left: 0px; border-left: 0px; float: left; padding-right: 10px" border="0" alt="DelbertMcClinton" src="http://davidgiard.com/content/binary/Open-Live-Writer/ef5951c48c0b_A3C5/DelbertMcClinton_thumb.jpg" width="244" height="143" /></a>Delbert
McClinton has recorded dozens of albums over the past 45 years, but it was always
his live shows that brought him the most praise.
</p>
<p>
Friday night, McClinton brought that live performance to S.P.A.C.E. in Evanston. For
over 2 hours, he entertained a packed room with a mix of originals and cover songs.
</p>
<p>
McClinton has a devoted audience and all night long this crowd shouted requests and
sang along to lyrics they had memorized.
</p>
<p>
Now, in his 70s, McClinton still has the powerful, gritty voice that made him the
ultimate Texas roadhouse singer. What he has lost in range he makes up for with emotion.
</p>
<p>
For this show, Delbert's only instruments were his voice and his harmonicas. But he
was backed by an outstanding 7-piece band, highlighted by Bob Britt on guitar, Kevin
McKendree on keyboards, Dana Robbins on saxophone, and Quentin Ware on trumpet. This
was a group of top-notch musicians who complemented one another very well. Instead
of an intermission, Delbert stepped off the stage for 10-15 minutes in the middle
of the show and allowed his band to play a trio of songs without him.
</p>
<p>
Delbert McClinton is often cited as the definitive Texas roadhouse musician. And Friday,
he showed us why. Powerful vocals, a tight band, and a connection with the audience
in an intimate venue made me glad I finally saw him live after listening to his recordings
for years.
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=4bd2e93c-1355-405e-9572-776d84c6b05c" />http://davidgiard.com/CommentView,guid,4bd2e93c-1355-405e-9572-776d84c6b05c.aspxMusicPersonalhttp://davidgiard.com/Trackback.aspx?guid=25d43791-4f24-43a0-8d61-00be91432a82http://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,25d43791-4f24-43a0-8d61-00be91432a82.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,25d43791-4f24-43a0-8d61-00be91432a82.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=25d43791-4f24-43a0-8d61-00be91432a82

Marcia
Ball rocks. Her songs rock. Her band rocks.

And Tuesday night in Chicago, she and her quintet rocked the City Winery in Chicago's
West Loop. For over 2 hours, she played her Texas mix of stride piano, boogie-woogie,
rockabilly, and the blues. Lots of blues

Ball showed off a powerful voice that could not possibly come out of his tall, slender
woman. But even more impressive were her keyboard skills. When she sits at a piano,
she owns it. Her band wasn't far behind, led by excellent guitarist Mike Schermer
and outstanding saxophonist Eric Bernhardt. Each stepped to the front frequently for
skillful solos.

Ball
sang mostly originals from throughout her long career and from her latest album – The
Tattooed Lady and the Alligator Man; but she mixed in a few cover songs, such
as Randy Newman's Louisiana 1927 and Frankie Ford's Sea Cruise.

This was the last night of a long tour before she and her band head home; but they
brought energy that night and the crowd fed off it.

If you get a chance, go see Marcia Bell. You will not regret it.

Marcia Ball rocks the City Wineryhttp://davidgiard.com/PermaLink,guid,25d43791-4f24-43a0-8d61-00be91432a82.aspxhttp://DavidGiard.com/2017/03/09/MarciaBallRocksTheCityWinery.aspx
Thu, 09 Mar 2017 05:40:57 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Marcia-Ball-rocks-the-City-Winery_14ABE/MarciaBallBand_2.jpg"><img title="MarciaBallBand" style="border-top: 0px; border-right: 0px; background-image: none; border-bottom: 0px; padding-top: 0px; padding-left: 0px; border-left: 0px; float: left; padding-right: 10px" border="0" alt="MarciaBallBand" src="http://davidgiard.com/content/binary/Open-Live-Writer/Marcia-Ball-rocks-the-City-Winery_14ABE/MarciaBallBand_thumb.jpg" width="244" height="139" /></a>Marcia
Ball rocks. Her songs rock. Her band rocks.
</p>
<p>
And Tuesday night in Chicago, she and her quintet rocked the City Winery in Chicago's
West Loop. For over 2 hours, she played her Texas mix of stride piano, boogie-woogie,
rockabilly, and the blues. Lots of blues
</p>
<p>
Ball showed off a powerful voice that could not possibly come out of his tall, slender
woman. But even more impressive were her keyboard skills. When she sits at a piano,
she owns it. Her band wasn't far behind, led by excellent guitarist Mike Schermer
and outstanding saxophonist Eric Bernhardt. Each stepped to the front frequently for
skillful solos.
</p>
<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Marcia-Ball-rocks-the-City-Winery_14ABE/MarciaAndDavid_2.jpg"><img title="MarciaAndDavid" style="border-top: 0px; border-right: 0px; background-image: none; border-bottom: 0px; padding-top: 0px; padding-left: 10px; border-left: 0px; float: right; padding-right: 0px" border="0" alt="MarciaAndDavid" src="http://davidgiard.com/content/binary/Open-Live-Writer/Marcia-Ball-rocks-the-City-Winery_14ABE/MarciaAndDavid_thumb.jpg" width="244" height="139" /></a> Ball
sang mostly originals from throughout her long career and from her latest album – <em>The
Tattooed Lady and the Alligator Man;</em> but she mixed in a few cover songs, such
as Randy Newman's <em>Louisiana 1927 </em>and Frankie Ford's <em>Sea Cruise</em>.
</p>
<p>
This was the last night of a long tour before she and her band head home; but they
brought energy that night and the crowd fed off it.
</p>
<p>
If you get a chance, go see Marcia Bell. You will not regret it.
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=25d43791-4f24-43a0-8d61-00be91432a82" />http://davidgiard.com/CommentView,guid,25d43791-4f24-43a0-8d61-00be91432a82.aspxMusichttp://davidgiard.com/Trackback.aspx?guid=4abd294c-fec1-4dcb-be69-b168b4bdd6f0http://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,4abd294c-fec1-4dcb-be69-b168b4bdd6f0.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,4abd294c-fec1-4dcb-be69-b168b4bdd6f0.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=4abd294c-fec1-4dcb-be69-b168b4bdd6f0

In
the 1960s Booker T and the MGs pioneered the Memphis Soul sound, recording numerous
hit records. In the decades since, Booker T. Jones has recorded and produced countless
records with the likes of Neil Young, Drive-By Truckers, Ray Charles, and Albert King.

Today, Booker T is in his 70s and still going strong.

I had the pleasure of seeing his current band at S.P.A.C.E. in Evanston. Although
not a long show (about 80 minutes total), he delighted the crowd with a top-notch
performance by him and his band.

Of course, they played the hits of the MGs, such as Hip-Hug-Her, Hang
‘em High, Soul Limbo, and their first and biggest hit Green Onions;
And they played music he is associated with, such as Born Under a Bad Sign,
which he co-wrote for Albert King, and Grandma's Hands, which he produced
for Bill Withers; but they also performed a number of cover songs, spanning genres
from Outkast's hip-hop hit Hey Ya to Muddy Waters's blues classic Mannish
Boy.

I was surprised to see Jones step out from behind his signature organ and play some
songs on guitar and perform lead vocals on some.

Jones's band - a quartet of drums, guitar, bass, and organ - is highlighted by his
son Ted on guitar. Ted has an engaging stage presence and is a solid musician like
his father. Booker and Ted performed a moving rendition of Prince's Purple Rain together
as the other 2 band members left the stage.

Booker T Jones has received numerous honors throughout his career. He has been awarded
a Lifetime Achievement Grammy and is a member of the Rock & Roll Hall of Fame.

And Saturday night in Evanston, I finally got to see him perform live.

After all these years, Booker T can still playhttp://davidgiard.com/PermaLink,guid,4abd294c-fec1-4dcb-be69-b168b4bdd6f0.aspxhttp://DavidGiard.com/2017/03/07/AfterAllTheseYearsBookerTCanStillPlay.aspx
Tue, 07 Mar 2017 22:25:43 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/After-all-these-years-Booker-T-can-still_E673/20170304_214526_5.jpg"><img title="20170304_214526" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; float: right; padding-top: 0px; padding-left: 10px; padding-right: 0px; border-top-width: 0px" border="0" alt="20170304_214526" src="http://davidgiard.com/content/binary/Open-Live-Writer/After-all-these-years-Booker-T-can-still_E673/20170304_214526_thumb_1.jpg" width="244" height="139" /></a>In
the 1960s Booker T and the MGs pioneered the Memphis Soul sound, recording numerous
hit records. In the decades since, Booker T. Jones has recorded and produced countless
records with the likes of Neil Young, Drive-By Truckers, Ray Charles, and Albert King.
</p>
<p>
Today, Booker T is in his 70s and still going strong.
</p>
<p>
I had the pleasure of seeing his current band at S.P.A.C.E. in Evanston. Although
not a long show (about 80 minutes total), he delighted the crowd with a top-notch
performance by him and his band.
</p>
<p>
Of course, they played the hits of the MGs, such as <em>Hip-Hug-Her</em>, <em>Hang
‘em High</em>, <em>Soul Limbo</em>, and their first and biggest hit <em>Green Onions</em>;
And they played music he is associated with, such as <em>Born Under a Bad Sign</em>,
which he co-wrote for Albert King, and <em>Grandma's Hands</em>, which he produced
for Bill Withers; but they also performed a number of cover songs, spanning genres
from Outkast's hip-hop hit <em>Hey Ya </em>to Muddy Waters's blues classic <em>Mannish
Boy</em>.
</p>
<p>
I was surprised to see Jones step out from behind his signature organ and play some
songs on guitar and perform lead vocals on some.
</p>
<p>
Jones's band - a quartet of drums, guitar, bass, and organ - is highlighted by his
son Ted on guitar. Ted has an engaging stage presence and is a solid musician like
his father. Booker and Ted performed a moving rendition of Prince's <em>Purple Rain </em>together
as the other 2 band members left the stage.
</p>
<p>
Booker T Jones has received numerous honors throughout his career. He has been awarded
a Lifetime Achievement Grammy and is a member of the Rock &amp; Roll Hall of Fame.
</p>
<p>
And Saturday night in Evanston, I finally got to see him perform live.
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=4abd294c-fec1-4dcb-be69-b168b4bdd6f0" />http://davidgiard.com/CommentView,guid,4abd294c-fec1-4dcb-be69-b168b4bdd6f0.aspxMusicPersonalhttp://davidgiard.com/Trackback.aspx?guid=708aab9a-52ae-42d7-bfd7-004a9bbd47bchttp://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,708aab9a-52ae-42d7-bfd7-004a9bbd47bc.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,708aab9a-52ae-42d7-bfd7-004a9bbd47bc.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=708aab9a-52ae-42d7-bfd7-004a9bbd47bc

Last
week, Ladysmith Black Mambazo brought a bit of South Africa to Chicago. The vocal
group performed at The Old Town School of Folk Music Saturday February 11.

LBM was formed by Joseph Shabalala in Ladysmith, South Africa in 1964. Shabalala did
not make this trip, but a number of his sons still perform with the 8-man group. Westerners
learned of their talents in the 1980s when they recorded the classic "Graceland"
album with Paul Simon; but they have been touring and recording on their own for decades.
Their tight harmonies and blend of African and western music make them appealing to
audiences all over the world.

LBM delighted the audience in a too-short (about 80 minutes) performance before a
sold-out theater. They blended harmonies and melodies and humor and Zulu dancing to
entertain us. There were no instruments because there was no need for instruments.

They
sang some songs in English and some in the Zulu language. "Homeless" and
"Diamonds on the Souls of her Shoes" from "Graceland" were crowd
pleasers; but most of the night consisted of traditional African songs and their own
compositions. For most songs, a different member of the band would step to the front
of the stage to sing lead, while the remaining 7 harmonized behind him. Some songs
were accompanied by coordinated Zulu dances.

The night concluded with a stirring rendition of "Amazing Grace".

Ladysmith Black Mambazo has long been on my list of bands to see live. Now I can cross
them off the Bucket List. Until the next time they come to town.

Ladysmith Black Mambazo harmonies delight audiencehttp://davidgiard.com/PermaLink,guid,708aab9a-52ae-42d7-bfd7-004a9bbd47bc.aspxhttp://DavidGiard.com/2017/02/16/LadysmithBlackMambazoHarmoniesDelightAudience.aspx
Thu, 16 Feb 2017 19:03:59 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Ladysmith-Black-Mambazo-excels-in-a-brie_B684/LMB01_2.jpg"><img title="LMB01" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; float: left; padding-bottom: 10px; padding-top: 0px; padding-left: 0px; padding-right: 10px; border-top-width: 0px" border="0" alt="LMB01" src="http://davidgiard.com/content/binary/Open-Live-Writer/Ladysmith-Black-Mambazo-excels-in-a-brie_B684/LMB01_thumb.jpg" width="244" height="143" /></a>Last
week, Ladysmith Black Mambazo brought a bit of South Africa to Chicago. The vocal
group performed at The Old Town School of Folk Music Saturday February 11.
</p>
<p>
LBM was formed by Joseph Shabalala in Ladysmith, South Africa in 1964. Shabalala did
not make this trip, but a number of his sons still perform with the 8-man group. Westerners
learned of their talents in the 1980s when they recorded the classic &quot;Graceland&quot;
album with Paul Simon; but they have been touring and recording on their own for decades.
Their tight harmonies and blend of African and western music make them appealing to
audiences all over the world.
</p>
<p>
LBM delighted the audience in a too-short (about 80 minutes) performance before a
sold-out theater. They blended harmonies and melodies and humor and Zulu dancing to
entertain us. There were no instruments because there was no need for instruments.
</p>
<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/Ladysmith-Black-Mambazo-excels-in-a-brie_B684/LMB02_2.jpg"><img title="LMB02" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; float: right; padding-bottom: 10px; padding-top: 0px; padding-left: 10px; padding-right: 0px; border-top-width: 0px" border="0" alt="LMB02" src="http://davidgiard.com/content/binary/Open-Live-Writer/Ladysmith-Black-Mambazo-excels-in-a-brie_B684/LMB02_thumb.jpg" width="244" height="168" /></a>They
sang some songs in English and some in the Zulu language. &quot;Homeless&quot; and
&quot;Diamonds on the Souls of her Shoes&quot; from &quot;Graceland&quot; were crowd
pleasers; but most of the night consisted of traditional African songs and their own
compositions. For most songs, a different member of the band would step to the front
of the stage to sing lead, while the remaining 7 harmonized behind him. Some songs
were accompanied by coordinated Zulu dances.
</p>
<p>
The night concluded with a stirring rendition of &quot;Amazing Grace&quot;.
</p>
<p>
Ladysmith Black Mambazo has long been on my list of bands to see live. Now I can cross
them off the Bucket List. Until the next time they come to town.
</p>
<p>
<a href="https://giard.smugmug.com/Concerts/Ladysmith-Black-Mambazo/" target="_blank">Photos</a>
</p>
<img width="0" height="0" src="http://davidgiard.com/aggbug.ashx?id=708aab9a-52ae-42d7-bfd7-004a9bbd47bc" />http://davidgiard.com/CommentView,guid,708aab9a-52ae-42d7-bfd7-004a9bbd47bc.aspxMusicPersonalhttp://davidgiard.com/Trackback.aspx?guid=36731a5b-04b1-4ac2-8d6a-1c00d11f10bbhttp://davidgiard.com/pingback.aspxhttp://davidgiard.com/PermaLink,guid,36731a5b-04b1-4ac2-8d6a-1c00d11f10bb.aspxDavid Giardhttp://davidgiard.com/CommentView,guid,36731a5b-04b1-4ac2-8d6a-1c00d11f10bb.aspxhttp://davidgiard.com/SyndicationService.asmx/GetEntryCommentsRss?guid=36731a5b-04b1-4ac2-8d6a-1c00d11f10bb1

After all these years, Webb Wilder still knows how to rock.

Last night, during my first visit to Fitzgerald's in Berwyn, IL, I had my first experience
seeing Webb live. The small club was packed, but I was lucky to find a seat with 2
friends who had an extra chair at their table. When the show started, I gave up my
seat to an elderly woman and moved up to watch the show next to the stage.

For over 2 hours, Webb and his band - The Beatniks - showed off some amazing guitar
work. They moved effortlessly between the rockabilly of “Ju Ju Man” to the psychedelic
"Voodoo Witch" to the hard rocking "Sitting Pretty".

The band was an excellent collection of musicians. Just 2 guitars, a bass guitar,
and drums filled the place like a much larger band. The lead guitarist (I cannot find
his name online) manipulated a control panel at his feet to make it sound as if he
were playing dozens of different guitars.

Now in his 60s, Webb Wilder still brings the energy of his shows at small clubs like
Fitzgerald's. If you are a fan of roots rock, I recommend seeing him live.

This
is not the Stanley Clarke I remember. I remember Stanley Clarke in the 1970s and 1980s
recording Jazz-Rock fusion and collaborating with the giants of the day, such as Chick
Corea, Al Dimeola, and George Duke. He was all that was new and modern with his electric
bass and his giant afro and his talking guitar. The albums he recorded with
Return to Forever are among the best of the genre.

Friday night at S.P.A.C.E. in
Evanston, IL, Clarke began as the electric jazz hero. Now in his mid-60s, he no
longer sports the afro, but he retains the energy of his early days.

Clarke
began the show, electric bass in hand, playing songs reminiscent of his fusion heyday.
But halfway through his set, he swapped the electric bass guitar for an upright bass.
One song later, his keyboardist slid from an electric keyboard set to a baby grand
and suddenly the jazz was more straight ahead. And more sweet. The music ranged from
fusion to funk to bee bop, including a few bars of Coltrane's classic "A Love
Supreme".

His quartet consisted of 2 keyboardists, a drummer, and Stanley himself. The 3 others
were between a third and a half Clarke's age, but they blended really well and Clarke
still brings the energy of his own youth.

Clarke ended with an frenetic encore that included a call and response with the crowd.

Based on the energy and enthusiasm I saw Friday night, I expect Stanley Clarke will
be entertaining audiences for a long time.

Stanley Clarke delights audience in Evanstonhttp://davidgiard.com/PermaLink,guid,1b6a3fc7-ad27-42f0-9db7-39af7a547e8e.aspxhttp://DavidGiard.com/2016/12/13/StanleyClarkeDelightsAudienceInEvanston.aspx
Tue, 13 Dec 2016 10:33:00 GMT<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/e1cd0d5cc723_12E11/StanleyClarke%20(7)_2.jpg"><img title="StanleyClarke (7)" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; float: right; padding-top: 0px; padding-left: 10px; padding-right: 10px; border-top-width: 0px" border="0" alt="StanleyClarke (7)" src="http://davidgiard.com/content/binary/Open-Live-Writer/e1cd0d5cc723_12E11/StanleyClarke%20(7)_thumb.jpg" width="244" height="139" /></a>This
is not the Stanley Clarke I remember. I remember Stanley Clarke in the 1970s and 1980s
recording Jazz-Rock fusion and collaborating with the giants of the day, such as Chick
Corea, Al Dimeola, and George Duke. He was all that was new and modern with his electric
bass and his giant afro and his talking guitar.&#160; The albums he recorded with
Return to Forever are among the best of the genre.
</p>
<p>
Friday night at <a href="http://evanstonspace.com/" target="_blank">S.P.A.C.E. in
Evanston, IL</a>, Clarke began as the electric jazz hero. Now in his mid-60s, he no
longer sports the afro, but he retains the energy of his early days.
</p>
<p>
<a href="http://davidgiard.com/content/binary/Open-Live-Writer/e1cd0d5cc723_12E11/StanleyClarke%20(32)_2.jpg"><img title="StanleyClarke (32)" style="border-left-width: 0px; border-right-width: 0px; background-image: none; border-bottom-width: 0px; float: left; padding-top: 0px; padding-left: 10px; padding-right: 10px; border-top-width: 0px" border="0" alt="StanleyClarke (32)" src="http://davidgiard.com/content/binary/Open-Live-Writer/e1cd0d5cc723_12E11/StanleyClarke%20(32)_thumb.jpg" width="244" height="139" /></a>Clarke
began the show, electric bass in hand, playing songs reminiscent of his fusion heyday.
But halfway through his set, he swapped the electric bass guitar for an upright bass.
One song later, his keyboardist slid from an electric keyboard set to a baby grand
and suddenly the jazz was more straight ahead. And more sweet. The music ranged from
fusion to funk to bee bop, including a few bars of Coltrane's classic &quot;A Love
Supreme&quot;.
</p>
<p>
His quartet consisted of 2 keyboardists, a drummer, and Stanley himself. The 3 others
were between a third and a half Clarke's age, but they blended really well and Clarke
still brings the energy of his own youth.
</p>
<p>
Clarke ended with an frenetic encore that included a call and response with the crowd.
</p>
<p>
His drummer - <a href="http://blaquedynamite.com/" target="_blank">Mike Mitchell,
aka &quot;Blaque Dynamite&quot;</a> - was especially impressive.
</p>
<p>
Based on the energy and enthusiasm I saw Friday night, I expect Stanley Clarke will
be entertaining audiences for a long time.
</p>
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I was in high school the first time someone asked me to name my favourite band. and
I had to think about it for a while before I decided it was Steely Dan. They set themselves
apart from others making good music because I enjoyed all of their songs and because
they played a variety of music and because their style of combining jazz arrangements
over pop melodies was so different from what other artists of the last 1970s were
doing. Walter Becker and Donald Fagen established themselves as one of the great songwriting
pairs in pop music history and always surrounded themselves with top-notch studio
musicians.

Decades later, Steely Dan remains one of my favourites; but, remarkably, I've never
seen them perform live. That changed last night when I caught their performance at
the FirstMerit Bank Pavilion in Chicago. They did not disappoint.

Steve Winwood warmed up - another artist I've always enjoyed, but never saw perform
live. Winwood had a successful solo career in the 1980s and he performed the popular
"Higher Love" from this era; but most of the performance was taken from
his earlier bands, such as Traffic and Blind Faith. He closed with a rocking performance
of "Gimme Some Lovin’", a song he wrote and recorded for the Spencer Davis
Group in 1966 at the age of 18.

Steely Dan hit the stage on a muggy night as the sun set and a breeze thankfully blew
off nearby Lake Michigan. Steely Dan's core remains singer/keyboardist Donald Fagen
and guitarist Walter Becker.

Fagen was the leader on stage, introducing most songs and singing lead. Becker is
a great songwriter, but had little stage presence (although he did sing lead on "Daddy
Don't Live In That New York City No More". But these limitations are easily ignored
when one surrounds oneself with an excellent set of musicians.

And Becker and Fagen brought with them an excellent band which they referred to as
"The Steely Dan Orchestra". The two highlights of this orchestra were drummer
Keith Carlock and lead guitarist Jon Herington, both of whom have traveled with Becker
and Fagen for over a decade.

The 3 female backing vocalist provided depth to most songs and sang lead on "Dirty
Work", a song originally sung by David Palmer before Fagen took over all lead
vocals.

I loved the live arrangements of their songs. Most did not stray far from the excellent
studio arrangements that made Steely Dan famous in the first place, but they toyed
with some songs, including a slow jam version of "Josie".

Seeing Steely Dan after all these decades of listening to their music was like meeting
an old friend after a long absence - Familiar yet somehow new.

I fell in love with them at My Old School and now they had me reeling in my years.

Achievement Unlocked: Steely Dan in concerthttp://davidgiard.com/PermaLink,guid,e0cc47d1-5923-4693-b3ba-3eef1b2ce78f.aspxhttp://DavidGiard.com/2016/06/14/AchievementUnlockedSteelyDanInConcert.aspx
Tue, 14 Jun 2016 13:08:00 GMT<p>
I was in high school the first time someone asked me to name my favourite band. and
I had to think about it for a while before I decided it was Steely Dan. They set themselves
apart from others making good music because I enjoyed all of their songs and because
they played a variety of music and because their style of combining jazz arrangements
over pop melodies was so different from what other artists of the last 1970s were
doing. Walter Becker and Donald Fagen established themselves as one of the great songwriting
pairs in pop music history and always surrounded themselves with top-notch studio
musicians.
</p>
<p>
Decades later, Steely Dan remains one of my favourites; but, remarkably, I've never
seen them perform live. That changed last night when I caught their performance at
the FirstMerit Bank Pavilion in Chicago. They did not disappoint.
</p>
<p>
Steve Winwood warmed up - another artist I've always enjoyed, but never saw perform
live. Winwood had a successful solo career in the 1980s and he performed the popular
&quot;Higher Love&quot; from this era; but most of the performance was taken from
his earlier bands, such as Traffic and Blind Faith. He closed with a rocking performance
of &quot;Gimme Some Lovin’&quot;, a song he wrote and recorded for the Spencer Davis
Group in 1966 at the age of 18.&#160;
</p>
<p>
Steely Dan hit the stage on a muggy night as the sun set and a breeze thankfully blew
off nearby Lake Michigan. Steely Dan's core remains singer/keyboardist Donald Fagen
and guitarist Walter Becker.
</p>
<p>
Fagen was the leader on stage, introducing most songs and singing lead. Becker is
a great songwriter, but had little stage presence (although he did sing lead on &quot;Daddy
Don't Live In That New York City No More&quot;. But these limitations are easily ignored
when one surrounds oneself with an excellent set of musicians.
</p>
<p>
And Becker and Fagen brought with them an excellent band which they referred to as
&quot;The Steely Dan Orchestra&quot;. The two highlights of this orchestra were drummer
Keith Carlock and lead guitarist Jon Herington, both of whom have traveled with Becker
and Fagen for over a decade.
</p>
<p>
The 3 female backing vocalist provided depth to most songs and sang lead on &quot;Dirty
Work&quot;, a song originally sung by David Palmer before Fagen took over all lead
vocals.
</p>
<p>
I loved the live arrangements of their songs. Most did not stray far from the excellent
studio arrangements that made Steely Dan famous in the first place, but they toyed
with some songs, including a slow jam version of &quot;Josie&quot;.
</p>
<p>
Seeing Steely Dan after all these decades of listening to their music was like meeting
an old friend after a long absence - Familiar yet somehow new.
</p>
<p>
I fell in love with them at My Old School and now they had me reeling in my years.
</p>
<p>
<a href="http://davidgiard.com/content/binary/WindowsLiveWriter/AchievementUnlockedSteelyDaninconcert_11B99/WP_20160611_21_58_14_Pro_2.jpg"><img title="WP_20160611_21_58_14_Pro" style="border-left-width: 0px; border-right-width: 0px; border-bottom-width: 0px; display: inline; border-top-width: 0px" border="0" alt="WP_20160611_21_58_14_Pro" src="http://davidgiard.com/content/binary/WindowsLiveWriter/AchievementUnlockedSteelyDaninconcert_11B99/WP_20160611_21_58_14_Pro_thumb.jpg" width="244" height="139" /></a>&#160;<a href="http://davidgiard.com/content/binary/WindowsLiveWriter/AchievementUnlockedSteelyDaninconcert_11B99/WP_20160611_22_03_18_Pro_2.jpg"><img title="WP_20160611_22_03_18_Pro" style="border-left-width: 0px; border-right-width: 0px; border-bottom-width: 0px; display: inline; border-top-width: 0px" border="0" alt="WP_20160611_22_03_18_Pro" src="http://davidgiard.com/content/binary/WindowsLiveWriter/AchievementUnlockedSteelyDaninconcert_11B99/WP_20160611_22_03_18_Pro_thumb.jpg" width="244" height="139" /></a>
</p>
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Gary Numan was everything I did not expect.

He
came to Chicago for 3 nights at Metro night club in Wrigleyville. Each night
he promised to perform a different album from early in his career - "Replicas"
on Sunday; "The Pleasure Principle" Monday and "Telekon" on Tuesday.
I chose to attend Sunday because his 1979 album "Replicas" has always been
my favourite of his. This was an album I embraced in high school a year before the
rest of America learned of Gary Numan with the release of "The Pleasure Principle"
and its wildly popular "Cars".

For me, Replicas was always the definitive Gary Numan album. Its layers of electronic
melodies and its lyrics about a dystopian future spoke to the adolescent me and the
album still holds up decades later.

Numan
performed every song from the "Replicas" album and I was impressed by his
enthusiasm for songs that he released 3 decades ago.

I don't recall ever attending a concert in which I knew in advance the songs the artist
would play. But he surprised us - first by mixing the order of the original album
and (more significantly) updating the arrangements.

The electronic music that made him famous is still impressive. "Down in the Park"
and "I Nearly Married a Human" featured impressive keyboards and unusual
sounds. But, he transformed "Me! I Disconnect From You" from a hypnotic
synth-pop tune into a rock song that any post-punk garage band would be proud of.
The guitar bass drums came to the fore on a number of his songs, making them more
rocking and less ethereal.

I
expected a stiff, robotic, stoic Gary Numan - similar to the mannequin pose on the
Replicas album cover. Instead, the audience was treated to an energetic performer
dancing to his songs and bringing a renewed passion to his old music.

The only downside was the venue. The fact that Metro only accepts cash was a disappointing
surprise, but its General Admission format made it difficult for most attendees to
see the stage. There are a limited number of tables one can reserve at more than double
the GA price and I'm debating doing this when Echo & the Bunnymen play there in
the Fall.

But
I found a bit of floor space to enjoy the show and enjoy it I did - from the music
to the strobe lights. Thanks to Numan's energy this concert exceeded my expectations.

Gary Numan brings surprising energy to Metro concerthttp://davidgiard.com/PermaLink,guid,c993cbe8-99ac-4211-9532-2dc8c9637ad1.aspxhttp://DavidGiard.com/2016/05/17/GaryNumanBringsSurprisingEnergyToMetroConcert.aspx
Tue, 17 May 2016 14:56:18 GMT<p>
Gary Numan was everything I did not expect.
</p>
<p>
<a href="http://davidgiard.com/content/binary/WindowsLiveWriter/GaryNumansBringsSurprisingEnergytoMetroC_8BAD/GaryNuman%20(5)_2.jpg"><img title="GaryNuman (5)" style="border-left-width: 0px; border-right-width: 0px; border-bottom-width: 0px; float: left; padding-bottom: 5px; padding-top: 5px; padding-left: 5px; padding-right: 5px; border-top-width: 0px" border="0" alt="GaryNuman (5)" src="http://davidgiard.com/content/binary/WindowsLiveWriter/GaryNumansBringsSurprisingEnergytoMetroC_8BAD/GaryNuman%20(5)_thumb.jpg" width="244" height="139" /></a> He
came to Chicago for 3 nights&#160; at Metro night club in Wrigleyville. Each night
he promised to perform a different album from early in his career -&#160; &quot;Replicas&quot;
on Sunday; &quot;The Pleasure Principle&quot; Monday and &quot;Telekon&quot; on Tuesday.
I chose to attend Sunday because his 1979 album &quot;Replicas&quot; has always been
my favourite of his. This was an album I embraced in high school a year before the
rest of America learned of Gary Numan with the release of &quot;The Pleasure Principle&quot;
and its wildly popular &quot;Cars&quot;.
</p>
<p>
For me, Replicas was always the definitive Gary Numan album. Its layers of electronic
melodies and its lyrics about a dystopian future spoke to the adolescent me and the
album still holds up decades later.
</p>
<p>
<a href="http://davidgiard.com/content/binary/WindowsLiveWriter/GaryNumansBringsSurprisingEnergytoMetroC_8BAD/GaryNuman%20(2)_2.jpg"><img title="GaryNuman (2)" style="border-left-width: 0px; border-right-width: 0px; border-bottom-width: 0px; float: right; padding-bottom: 5px; padding-top: 5px; padding-left: 5px; padding-right: 5px; border-top-width: 0px" border="0" alt="GaryNuman (2)" src="http://davidgiard.com/content/binary/WindowsLiveWriter/GaryNumansBringsSurprisingEnergytoMetroC_8BAD/GaryNuman%20(2)_thumb.jpg" width="244" height="139" /></a> Numan
performed every song from the &quot;Replicas&quot; album and I was impressed by his
enthusiasm for songs that he released 3 decades ago.
</p>
<p>
I don't recall ever attending a concert in which I knew in advance the songs the artist
would play. But he surprised us - first by mixing the order of the original album
and (more significantly) updating the arrangements.
</p>
<p>
The electronic music that made him famous is still impressive. &quot;Down in the Park&quot;
and &quot;I Nearly Married a Human&quot; featured impressive keyboards and unusual
sounds. But, he transformed &quot;Me! I Disconnect From You&quot; from a hypnotic
synth-pop tune into a rock song that any post-punk garage band would be proud of.
The guitar bass drums came to the fore on a number of his songs, making them more
rocking and less ethereal.
</p>
<p>
<a href="http://davidgiard.com/content/binary/WindowsLiveWriter/GaryNumansBringsSurprisingEnergytoMetroC_8BAD/Replicas_2.jpg"><img title="Replicas" style="border-left-width: 0px; border-right-width: 0px; border-bottom-width: 0px; float: left; padding-bottom: 5px; padding-top: 5px; padding-left: 5px; padding-right: 5px; border-top-width: 0px" border="0" alt="Replicas" src="http://davidgiard.com/content/binary/WindowsLiveWriter/GaryNumansBringsSurprisingEnergytoMetroC_8BAD/Replicas_thumb.jpg" width="244" height="244" /></a> I
expected a stiff, robotic, stoic Gary Numan - similar to the mannequin pose on the
Replicas album cover. Instead, the audience was treated to an energetic performer
dancing to his songs and bringing a renewed passion to his old music.
</p>
<p>
The only downside was the venue. The fact that Metro only accepts cash was a disappointing
surprise, but its General Admission format made it difficult for most attendees to
see the stage. There are a limited number of tables one can reserve at more than double
the GA price and I'm debating doing this when Echo &amp; the Bunnymen play there in
the Fall.
</p>
<p>
<a href="http://davidgiard.com/content/binary/WindowsLiveWriter/GaryNumansBringsSurprisingEnergytoMetroC_8BAD/GaryNuman%20(3)_2.jpg"><img title="GaryNuman (3)" style="border-left-width: 0px; border-right-width: 0px; border-bottom-width: 0px; float: right; padding-bottom: 5px; padding-top: 5px; padding-left: 5px; padding-right: 5px; border-top-width: 0px" border="0" alt="GaryNuman (3)" src="http://davidgiard.com/content/binary/WindowsLiveWriter/GaryNumansBringsSurprisingEnergytoMetroC_8BAD/GaryNuman%20(3)_thumb.jpg" width="244" height="139" /></a> But
I found a bit of floor space to enjoy the show and enjoy it I did - from the music
to the strobe lights. Thanks to Numan's energy this concert exceeded my expectations.
</p>
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